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Full text of "Movable stationery"

MOVABLE STATIONERY 



Volume 3 Number 2 



March 1995 



Special Issue: Artists' Books 

This special issue is devoted to limited edition, artists ' books. 
Each of the artists/columnists is a member of The Movable Book Society 



Book Artist 

Carol Barton 

I have been producing artists* books for the past 
twelve years Most of my books are based on historical 
novelty'* or "mechanical" book formats Two of my 
most recent books. Loom and Instructions for 
assembly, are good examples of the way I use 
traditional formats as the basis for a more sculptural 
approach to my work. Loom is a variation on the 
traditional "tunnel" or "peepshow" book which first 
appeared in the mid 1700's. Based on large-scale 
traveling peepshow s. these books have pages which are 
joined by accordion-fold pleats on two sides and are 
viewed through a hold in the front cover A layered 
dimensional scene is revealed within. 1 8th-century 
book makers produced these small-scale theater-like 
books to commemorate special events like the Queen's 
coronation, or as souvenirs of tourist attractions such as 
the Rhine Valley in Germany. 

In Loom I have pushed this format to a new level by 
incorporating landscape scenes along the accordion 
binders and combining astronomical views with 
oriental rug patterns in the book s interior. The viewer 
is encouraged to look not just at the scene inside, but to 
view the piece from all sides as one would a sculpture 

Instructions for assembly is a pop-up book which 
plays on the notion of "how-to" books. The book itself 
was a challenge to design. Instead of using the 
traditional accordion format which is the basis for most 
pop-up volumes. I wanted to incorporate overlying 
pop-ups which would build one-over- the-other as the 
pages are turned. This required some inventive 
binding. Each section has four page spreads bound on 
two tyvek tabs pulled through slits in the pages and 
attached to the spine of the book With this binding 
method I achieved the desired affect. The projects 
appear to "construct themselves'* as the viewer turns 
through the book. Also, to avoid some labor-intensive 
work which is often the norm in pop-up book 



production. I chose to sell two versions of the edition, 
one assembled and one unassembled with "instructions 
for assembly" - obviously in keeping with the theme. 

The book allows me to combine my background in 
painting and photography with interests in sculptural 
forms, printing, and serial images I own a Chandler 
and Price letterpress on which I can print and die-cut 
sculptural books, and I enjoy producing both one-of-a- 
kind books and larger editions. The experimental 
nature of the bookmaking process allows for the 
occurrence of many "happy accidents" and sponta- 
neous moments of expressing in my work. The 
challenge is to pull these elements into one strong, 
unified statement I am constantly learning ways to 
better achieve the desired result. 

There is another appealing aspect to artist- 
bookmaking: the interesting community of people 
involved in it. Editions of artists' books are much more 
accessible than one-of-a-kind artworks. They reach and 
unite a large audience. Moreover, the process of 
bookmaking can require sizeable and expensive 
equipment such as presses, paper cutters, and photo 
facilities. I Ins equipment is often shared and used 
communally Thus, bookmaking is not an isolated 
activity. It frequently involves an exchange of ideas, 
tools, and skills. No wonder there seems to be more 
contact between book artists than between lone 
sculptors or painters working in separate studios. 

My own inspiration comes from varied sources: 
reading, historical references, functional objects 
(furniture, jewelry and kinetic toys), architecture, and 
other artists" books. The book is a flexible framework 
for these influences. It is a very ultimate art form in 
which the viewer becomes actively involved. This 
opportunity for personal communication with others is 
the most enjoyable element for me in making books. 

Carol Barton is a book artist residing in Glen Echo, 
Maryland. 



On Making Books 

Larry Thomas 

"I make pop-up books ." What an outrageous thing 
to say! It is as if you are standing at my side in the 
Sistine Chapel and I turn to you and say. "By the way. 
back home" I paint eedings. TOO!" 

By a long a curious path I wandered from traditional 
printmakmg. from well-mannered art that hangs from 
the walls in military correctness to books. In doing so. I 
came home. 

A book will tell you secrets and it will keep yours. 
(Jo tell the Computer-Acolytes that a book. too. is 
mformation. But a book is also a thing to keep. See it. 
Yes. read it. Touch it! Take it to the bathroom or on a 
plane to Mandalay. or up a tree. 

A "Bookwork. someone said. "Is a work of art in 
book form." The art comes down off of the museum 
wall and lies across your knees. Turn the page. See 
what happens next. Participate. 

In a book anything can happen. Books are the last 
repository of magic 




Accordion with Pop-ups by Larry Thomas 



I make one-of-a-krnd books One is sufficient. 
Although to be honest, the \\ ay I work is so haphazard 
that no publisher would find it cost-effective to 
reproduce my work 

I make "pop-ups" because they extend the magic. 
Sharks, noses, or stealth bombers rise out of the page. 
They startle. The\ emphasize. They amaze. 

When I think of books and why I like them. I think 
of a visit to the British I ibrarv and a curator named 



John Barr Mr. Barr took an hour to show me - to let 
me touch Victorian pop-ups from the libraries 
collection He was an older man. closer to the end of 
his career than the beginning. Yet. each time he moved 
a new book from his cart to the table. Mr. Barr would 
forget about me. The years would fall away and it was 
possible to see through the old John Barr down through 
the years to eight year old John Barr. He would stare at 
the book, turned away from me so that he alone could 
see. He would giggle with delight as he turned each 
page. Eventually Mr. Barr would remember me and 
turn the book so that I could see as well. Together we 
would share Wouldn't it be a fine think. I wondered, to 
make something that gives so much pleasure. 

I make one-of-a-kind pop-up books. A recent book 
of mine called Xo tears for Ramelii. will be shown in 
the exhibition. "Scientists' Book/ Artists' Book" in 
Washington. D C in May. It is a traditional accordion- 
fold book w ith "floors" or stages that drop down when 
the book is opened to reveal the dimensional pieces. 

I am increasingly interested in the "carousal" form 
w hich. w hile it suggests the "tunnel" book, offers 
different three-dimensional views from all sides. I will 
continue to make books and. of course, continue to 
look for opportunities to share (exhibit) them. 

Larry Thomas is an Associate Professor of Art at 
Georgia State University in Atlanta, Georgia. 




Carousal bv Larrv Thomas 



The Movable Book Society 

Movable Stationery is the quarterly publication 
of The Movable Book Society. Letters and articles 
from members on relevant subjects are welcome. 
Advertising is accepted free of charge from members 
and is included when space permits. The annual 
membership fee for The Society is $15.00 For more 
information contact Ann Montanaro. The Movable 
Book Society. P.O. Box 1 1654. New Brunswick. New 
Jersey 09806. 

Daytime telephone: 908-445-5896 
Evening telephone: 908-247-6071 
e-mail: montanaro «.zodiac.nitgers edu 
Fax: 908-445-5888 

The deadline for the next issue is Mav 15 



Participation Book Art 

Martha Carothers 

"Limited to a conveyor belt, man rarely feels the jov 
of creation Unable to encompass the metamorphosis 
of things which take shape under the work of his hands, 
he forfeits the sense of accomplishment, the unity and 
thus the harmony in the doing, which might give him 
true satisfaction." Gyorgy Kepes voiced this opinion in 
1 949. and I agree with his observations in regards to 
creating artists" books. In addition to the hands-on 
printing and binding process, my satisfaction is in 
exploring the juxtaposition of the visual and verbal 
content in Post Press books. My books attempt to 
challenge the viewer to experience a metamorphosis in 
one of three ways: viewer as visual participant, mental 
participant, and physical participant. 

Comic books were a significant influence for the 
visual participant process Dominanttv visual in 
concept, the unages carry the message and what words 
there are. are only for utilitarian purposes The visual 
participant receives the content in a sequential, paced 
manner with jumps in visual thought. For the most part 
the viewer is passive in viewing the visual story. 

Intrigued by dictionaries, metaphor, and word play 
the resulting books entice the viewer to be a mental 
participant in the visualAerbal give and take between 
pictures and words. This symbolic transformation is a 
non-literal visual interpretation. The verbal provides 
part of the information and the visual provides another 
part of the information Viewed together they mesh to 
reinforce each other, not just repeat each other. Alone 
neither conveys a complete thought Author Koestler in 
his 1 964 book. The act of creation, draws a parallel 
beiuecn communication and jest to make a joke 



unfold. It is the technique of implication and the 
exercise of economy that lifts the viewer "out of his 
passive role and compels (him) to co-operate, to 
repeat to some extent the process of inventing the joke, 
to re-create it in his imagination." 

The activity of movable children's books w as the 
influence on my books that causes the viewer to be a 
phvsical participant. The structure and format is 
immediately confronting and tactile, attracting 
attention. The 3D. movable, die-cut. or pop-up device 
invites the viewer to hand-activate the image that 
interprets the text. It is the ultimate means of emphasis. 

Again quoting Kepes from the book Graphic forms. 
There is an inherent meter and rh\lhm in the sequence 
of words and images. Books of today rarely meet a 
form that corresponds to the livery pulsation of the 
reading eye... most of our books are dreary tenements of 
words badly in need of rhythmical accents — accents 
which exist in the spoken language " Incorporating 
rhvthmieal accents into the interpretation of the 
visual/verbal relationship has resulted in visual, mental, 
and dimensional Post Press books 

Martha Carothers produces Post Press books in 
Newark, Delaware 



Making Book Forms to Match Content 

Lois Morrison 

Because I must make things and because I have 
read voraciously ever since I could read, my joy is in 
making books. As I begin to think about the books I've 
made in the light of a description of movable books 
that runs from shaped books to 3-D pop-ups. I realize 
that all my books fall between these two categories. 
Trying to get a form to the content of a book has been 
one of the most intriguing aspects ol 'making them. 




My Garden from Weeding Height 
by Lois Morrison 



A vividly colored book on small Mexican kites. 
Dead kites, is shaped like the hands that hold the 
strings and. A ransome note for the Statue of Liberty is 
shaped like her crown. For collectors of miniature 
books I made a just under three-inch book. My cabin in 
spring, housed in a square match box When the little 
book is lifted out. thirty-some-odd cutout insects fall 
into one's hand. Two Jacob's Ladder books are also 
shaped. In one. cut-out fish fall between ribbons 
shaped like gentle waves; in the other, the limbs of 
entwined figures project from a book on Adam 'sfall. 

. 1 have found the tunnel book useful in depicting The 
Gadarene swine s mass suicide. Looking through the 
aperture, one can see layers of diminishing waves and 
more drowning swine in front of a background of cliffs 
from which they are jumping. In My garden at 
weeding height the top is secured by strips of vines that 
allow the layers of foliage to spill over the sides in an 
enthusiasm of growth. At the moment, another more 
regimented garden has me working on a Jardin de 
Guadalupe, with two apertures whose sight lines 
converge on a photograph of a small Mexican shrine to 
the Virgin of Guadalupe. 

Before these two books. Julie Chen and I 
collaborated on a proscenium book, which presents the 
unprobable Ste Ostrich wending her way through 
Manhattan in a series of vignettes that show her. among 
others, memorialr/uig King Kong atop the Empire 
State builduig and wrestling w ith alligators in the 
sewers under the city . Each scene has several detailed 
layers. 

Julie Chen has made an amazing tunnel book that, 
when set on the floor and raised to its full heieht. 







r~ 



I \ 




V' 



L *! 



s s y i. , 



The Caterpillar Who is a Corps De Ballet 
bv Lois Morrison 



comes above one's waist. Ed Hutchinson has made the 
smallest: a pair of miniature books that show one view 
into and one out of his window. Carol Barton, who 
showed me my first tunnel book, makes beautifully 

structured ones. 

Two tools have helped me to make the books I 
want The first is a precise eyelet-setter that permits me 
to make jointed figures The first book in which it was 
used is based on a 1 9th century Australian tin toy. The 
Australian finger-biker in Sew Zealand allows one to 
wheel a paper bicyclist down a golden road, in an 
accordion-fold book, through New Zealand's North 
Island My second is about The caterpillar who is a 
corps de ballet Shaped like what she is. with ten 
movable legs, .-he dances in ballets all over the globe 
This same machine will be used to make The Mexican 
dog tosser. whose arms will be jointed to allow him to 
toss dead dogs over the fence and off the road. (The 
Mexican books come from visits to my daughter, who 
h\es in Mexico City.) 

None of m> more recent books would have been 
possible without the second tool, a Ciocco printer. It is 
an inexpensive Japanese gizmo that sets a drawing onto 
a small (4" x 5 :") screen, from which up to 100 
copies can be printed in colors The quality of the 
printing is somewhat like that of a rubber stamp, and 
smce that is limited. I then go back into each print with 
inks and water colors to get the effect I want. This very 
portable machine has freed me from the need for a 
large printing establishment, and has allowed me to 
make ruy books anywhere. Although this has little to do 
w ith form matching content, it has everything to do 
with how I make books 

To recei\ e a complete list of my books in print call 
me at 201-261-6479. or WTite to Lois Morrison. 105 
Palmer Place. Leonia. New Jersev 07605. USA. 



Back Issues Available 

Back issues of Movable Stationery are 
available for S2 50 per issue, postage included 

Volume 1. =1 - Pricing Pop-up Books. 
Volume 1. #2 - "Poppin'up and Movin' on" A 

Dialogue with the Bookbinder 
Volume 2, #1 - Builduig a Basic Reference 

Collection 
Volume 2. #2 - Belgian Pop-up Lxhibit 
Volume 2. fr3 - ABA Convention Report 
\ olurne 2. =4 - Selected BibliogTaph\ on Making 

pop-ups 
Volume 2. #5 - Movable Books ui the Lilly Library 
Volume 3. =1 - i raukfurt Book Fair 1994 



Book Forms as Sculpture 

Robert C. Smith 

My career has mostly been in graphic design 
professional practice as well as teaching. I have 
additional experience in industrial technology and 
sculpture. These interests have merged comfortably in 
recent years in the book arts. 

Most of my books are about play, pleasure, surprise, 
and objectivity rather than content that is literary or 
symbolic. 




process in colors related to the original art. Then they 
were cut out by hand, so that when the pages open the 
tables or chairs pop forward of the painting, creating a 
three-dimensional interpretation. A brief text was 
printed by letterpress and the book casebound in cloth. 
9 1/4" x 6 3/4". in an edition of 20. 

My process is similar to my usual graphic design 
production. After rough drawings and notes and 
miniature dummies I construct a full size model (or 
several) with patchmg and design changes placed 
where needed. All the type and colors are included. 
After things work satisfactorily, I make careful tracings 
of miages. cutting areas and other details for every 
page. The tracings are helpful in making corrections or 
duplications as they are needed. The editions are small, 
some as lew as live, mostly twenty to twenty-five. I 
work on at least four or live books concurrently They 
take from eight weeks to a year to complete 

Inevitably, the question comes up. "Where do \ou 
gel your ideas'" I really have no enlightened answer to 
this. Ideas seem to occur beyond my capacity to 
produce them. They probably come from just 
observing and absorbing information and experience I 
thuik seemingly unrelated thoughts eventually make 
new "connections'" and thereby begins a future project. 
The joy and reward to all this is the surprise that comes 
after all the tedious effort with the thing "really works." 

Robert Charles Smith is a designer in St. Louis, 



Missouri. 



\ 



Page from Poparama by Robert Smith 

I set the type bv hand, print w ith letterpress, screen- 
process or offset, and I bind my own work. The pub- 
lications are in many formats: case bound, folios, 
pamphlets, posters, etc. The book becomes trans- 
formed into a tactile sculptural experience for me. I 
like the change from the flat surface of paper to an 
object with color, \olume. space, and movement. My 
subjects are very basic. For example, one book called 
Checkbook. consiNts of black and white abstract 
patterns, including many checkerboard designs. 
eo\eruig each page A geometric shape is cut out of 
each center and then folded back onto the sheet. This 
opens up passages re%ealing pages behind. The entne 
effect is quite acme and makes the book somewhat of 
a kmetic three-dimensional print. I he folded size is 1 1 
1/4" by 5 3/4". bound with sewn signatures and paper 
cover 

A more complex book is called Masterspieces. I 

excerpted section^ lrom paintings by six famous artists, 
including Picasso. Klee. and Modrian. These "pieces" 
were of chairs or tables. They weTe printed by screen 




Working template by Robert Smith 



Miniature Books 

Jane W Conneen 

Most people think of miniature books as 
inexpensive "cute" little books lor children. Often 
charming, but of little value This was well illustrated 
to me last year when I 'ictona magazine published a 
photo and small mention of three of my books. I 
received about 200 inquiries and almost everyone who 
called gasped when they heard the prices, obviously not 
realizing the time involved in doing these little books 
all by hand or the value of a special little book done in 
an edition of 100 or less. First wnting and illustrating, 
then printing, coloring the illustrations, then folding 
and sewing and finally binding Usually all done by one 
person, though sometimes planned by the publisher 
with the printing and binding executed by master 
craftsmen in those fields. Fortunately, through publicity 
such as the small article in I 'ictona, and by word of 
mouth, the world of miniature books is rapidly 
expanding. As both a collector and book artist, it is 
exciting to be in the forefront of the grow ing 
appreciation of these wonderful little books. 

For me. a "book of my own" seemed an impossible 
dream. Though I have been a printmaker (linocuts and 
etchings) since 1970. it wasn't until 1976. when I saw 
a magazine ad for a small herbal, that I discovered 
uimiaturc books A little book, done all bv hand 
seemed within the realm of possibility. But where does 
one learn how to bind a book'' What kind of paper does 
one use for such a small book'' How does it get 
printed? These problems took another 14 years to 
figure out and it wasn't until 1990 that my first book 
The winding roads of Ireland w as published. It was 
well received and even won an award from the 
Miniature Book Society, bolstering my confidence to 
go on and try another book. Now the problem is too 
many book ideas and not enough tune! 

The rule for minianue books is that they can be no 
larger than three inches Many collectors do not buy 
books over two and a half niches. The fascination of 
these little books, lo me. is in theu amazing 
inventiveness and creativity Faeh book artist or 
publisher starts with a unique idea and each is carried 
out in a unique way Some books are special because 
of the beauty of their typography, some for their 
subjects, some for their bindings or illustrations, and 
some for their construction My collection started out 
w ith micro-mini books since I did not know any other 
kind. These are dollhouse size, under one inch, 
amazing little books but often hard to read or sit 
properly on a shelf It was with great delight that I 
discovered the slightly lareer "readable" size. 



Several book artists are creating pop-up, miniature 
books. Maryline Poole Adams has created Jack-in-the- 
box: An alphabet ( 1 99 1 ). A brief but moving history 
of printing ( 1 985). A peep-show Alice ( 1 989). Pepys 
pops up (1986). and Punch & Judy (1988). Another 
artist who does wonderful books of the same type is 
Dianne Weiss of Figment Press. She has a carousel 
book that is opened by pulling around to show the 
whole carousel and it plays and hurdy gurdy tune. 
Diane and Mary line, along with Carol Cunningham 
(Sunflower Press) and Susan Acker (Feathered Serpent 
Press) have gotten together as The Splendid Press - at 
least once and probably more tunes - to do a joint 
publication Theu publication. The sun full circle . has 
foiu separate little books in a slip case: North, South, 
East, and West. 

My own miniature books, starting out as a 
"sideline" to my etchings, now seem to be taking over 
and have given me a wonderful new world, full of 
fascinating, interesting people and unique little books - 
a world that I could not have dreamt of almost twenty 
years ago when I bought my first miniature herbal. So 
far I have been able to carry my love of flowers into 
tluee little volumes on The language of herbs, as well 
as one on J 'tolets. and one on Strawberries. Two more 
books were inspued by travels to Ireland and England 
There are mam more planned that I hope to have time 
to do in the future. 

A brochure describing Jane Conneen's work is 
available from The Little Farm Press, 820 Andrews 
Road. Bath, Pennsvlvania 18014. 




New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or 
advertising All titles include pop-ups unless otherwise 
identified 

African folktales. Telltale Theater |bookand 
audiocassette] Running Press March. $12 95 12 
pages. 2 >;"x4" 1-56138-501-8 

All creatures great and small Little Bible Pop-ups. 
Random House April S4 50 3 1 4" x 3 14" 
0-679-87218-3 



Bertie the bus and Thomas the tank engine. Little 
Pops. By Rev W. Awdry. Random House. Mav. $4.50. 
5" x 5". 12 pages. 0-679-86996-4. 

The best of Mother Goose. Telltale Theater |book and 
audiocassette] Running Press. March. $12 95. 12 
pages. 2 V : " x 4". 1-56138-502-6. 

.4 bouquet of flowers: A treasury of blossoms. 
Miniature Editions Running Press March $4 95. 12 
pages. 2 3/4" x 3 1/4". 1-56138-574-3. 

The butterfly. A circular pop-up book. By David 
Hawcock. Hyperion. May. $6.95. 5" x 5". 12 pages. 
0-7868-0098-4. 

Dinosaur pop-up ABC. Little Simon. Mav. $14.95. 
10" x 8". 14 pages. 0-67 1 -89076-x. 

Disney's 1.2,3. under the sea: a Little Mermaid pop- 
up counting book. Disney Press. April. $ 12.95. 8 '/->" x 
7 1/4". 20 pages. 0-7868-3035-2. 

Disney 's the Lion King jungle days. A Tiny Changing 
Pictures Book. Disney Press. March 10 pages. 3 1/4" 
x3 l/4".$4 95 0-7868-3011-5. 

Disney 's the Lion King puzzle pop-up game book. 
[three-dimensional game board in storybook] Disney 
Press. March. 1 1 1/4" x 7". 12 pages. March. $17.95. 
0-7868-3037-9. 

The frog: A circular pop-up book. By David 
Hawcock. Hyperion. May. $6.95. 5" x 5". 12 pages. 
0-7868-0099-2. 

Help the animals of Africa. By Robert Sabuda. Joshua 
Moms. April. $4.99. 6" x 6". 0-89577-668-5 

Help the animals of Asia. By Robert Sabuda. Joshua 
Moms April. $4.99. 6" x 6" 0-89577-667-7 

Help the animals of.Xorth America. By Robert 
Sabuda. Joshua Morris. April. $4.99. 6" x 6". 
0-89577-665-0. 

Help the animals of South America. By Robert 
Sabuda. Joshua Moms April. $4.99. 6" x 6". 
0-89577-666-9. 

Help, mama, help!: A touch-and-feel pull-tab pop-up 
book. By Shen Roddie. Little Brown. April. $14.95. 9 

Vi"\ 8 3/4". 0-3 16-75357-2. 

Hey diddle, diddle and other Mother Goose rhymes. A 
Nursery Pop-up By Jonathan I.angley. HarperFestival. 

$4.95. February 5" x 6" 10 pages 0-694-00634-3. 



The honeybee and the robber: A moving pictures pop- 
up book. [Reissue]. Philomel January $17.95. 
0-399-20767-8. 

In and out and roundabout: A pop-up book of 
directions. Little Simon. April. $8.95. 6" x 6". 10 
pages. 0-671-89832-9. 

Joan Walsh Angtund's Mother Goose pop-up. Little 
Simon. May. $11.95. 16 pages. 7" x 8 'A". 
0-689-00008-1. 

Just you and me, grandpa: A pop-up story about a 
special day. Joshua Moms. $9.95. 12 pages. 7 3/4" x 6 
1/4". 0-89577-664-2. 

Kisses: A treasury of romance. Miniature Editions. 
Running Press. March. $4 95. 12 pages. 2 3/4" x 3 
1/4". 1-56138-552-2. 

Mothers: A celebration of love. Miniature Editions. 
Running Press March. $4 95 12 pages. 2 3/4" x 3 
1/4" 1-56138-553-0. 

Mv sister: A treasury of companionship. Miniature 
Editions. Running Press. March. $4.95 12 pages. 
2 3/4" x 3 1/4". 1-56138-554-9. 

Now the dav is over. Little Bible Pop-ups Random 
House. April. $4.50. 3 1/4" x 3 1/4". 0-679-87217-5. 

Old King Cole and other Mother Goose rhymes. A 
Nursery Pop-up. By Jonathan Langley HarperFestival 
$4.95. February. 5" x 6". 10 pages. 0-694-00635-1. 

Percy the small engine and the scarf. Little Pops. By 
Rev. W Awdry. Random House. May. $4.50. 5" x 5". 
12 pages. 0-679-86995-6. 

Pink drink: A pop-up book of color rhymes. Little 
Simon. April. $8.95 6" x 6". 10 pages. 
0-671-89832-9. 

The poetry of friendship Miniature Editions. Running 
Press. March. $4.95. 12 pages. 2 3/4" x 3 1/4". 
1-56138-555-7. 

A rain forest pop-up poster and story By Maria Mudd 
Ruth. Little Simon March. Poster 19" x 44" x 4 1/4" 
deep. $16.95. 0-671-51080-0. 

The salmon: A circular pop-up book. By David 
Hawcock. Hyperion. May $6.95 5" x 5" 12 pages. 
0-7868-0 100-x. 



Smile! Twenty-five happy reminders. Miniature 
Editions. Running Press. March. $4.95. 12 pages. 
2 3/4" x 3 1/4". 1-56138-556-5. 

Snack Pack: A pop-up book in every box\ [three mini 
cereal boxes"] Little Brown. April $8.95. 2 3/4" x 4" 
xl". 3 books 12 pages each. 0-316-15241-2. 

The swallow: A circular pop-up book. By David 
Hawcock. Hyperion. May. $6.95. 5" x 5". 12 pages. 
0-7868-0 10 i -8. 

Tambourina 's troubles: A pop-up storybook. Joshua 
Moms. May. $1 1.95. 5 '/:" x 1 1" 18 pages. 
0-89577-674-x. 

Thomas the tank engine and the scrambles eggs. Little 
Pops By Rev W Awdry Random House May. $4.50. 
5" x 5". 12 pages 0-679-86993-x. 

Thomas the tank engine catches a thief. Little Pops. 
By Rev. W. Awdry Random House. May. $4.50. 5" x 
5". 12 pages. 0-679-86994-8. 

Halt Disney 's Peter Pan off to Never Land. A Tiny 
Changing Pictures Book. Disney Press. March. 10 
pages. 3 1/4" x 3 l/4".$4.95. 0-7868-3016-6. 



MOVABLE STATIONERY 

The Movable Book Society 

P.O. Box 11654 

New Brunswick. New Jersey 08906 




3 9088 01629 2690 



Millisecond to Millennia: The Art of Time 

More than sixty examples of artist-made books in 

this exhibit, organized by The Hand Workshop 

at the Virginia Center for Craft Arts. 

Curated by Carol Barton. 

March 7 -April 15. 1995 

Montserrat College of Art Gallery 

23 Essex Street 

Beverly. Massachusetts 01915 

' 508-922-8222